Americana Rhythm Music Magazine Issue #98

Americana Rhythm is published six times a year. All correspondence should be sent to PO Box 45, Bridgewater VA, 22812 or email to greg@americanarhythm.com. Copies of Americana Rhythm are made available free at various pick up locations within the publication’s region. Subscriptions are available inside the United States (only) for $24 US currency made payable by check or money order sent to, Subscriptions at PO Box 45, Bridgewater, VA, 22812. Foreign subscription requests should be sent to greg@americanarhythm.com. Copyright 2022. All rights reserved. Reproduction of any content, artwork or photographs is strictly prohibited without permission of the publisher or original owner. All advertising material subject to approval.

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Greg E. Tutwiler

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Ed Tutwiler

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ADVERTISING

Business office 540-433-0360 advertising@americanarhythm.com

The Trail Of A Song

The road a song takes from inception, to completion, to recording, to video, to finally reaching the public, can be long and twisted.

I have a tune, “Timber She’s Hauled,” that released as a radio edit on May 12th, 2023. The songwriting began in 2021. In reality, I was first acquainted with the inspiration for the song in the late 1980s. As many of you know, Amy and I are both licensed sea captains, and have been in love with the sea and its ships for a long time - we’ve lived on

Ships event. She struck a nerve with me as an old soul with a storied past. Over the years, I would see her now and again, her name and hailing port changing; meeting past and present captains who have shared her grace. Somehow, the ship never left my radar.

Fast forward to 2019 when Amy and I were asked to be guests aboard her as part of the Windjammer Fleet in Rockland, Maine. We jumped at the opportunity and, as we often do, took the scenic route by sailing

CONTRIBUTORS

Ed Tutwiler

Wayne Erbsen

Donna Ulisse

Mike Aiken

Andrew McKnight

Dan Walsh

Rebecca Frazier DISTRIBUTION

North River Publishing Integrated Music Media Letters, Comments, Suggestions greg@americanarhythm.com www.americanarhythm.com

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sailboats and sailed all over for the past 30 years!

The story of this song is not about a new lover, an old lover, a bottle of beer, getting drunk, leaving someone or being left etc. It is about the Victory Chimes, a 128 foot-long, three-masted, wooden Ram schooner built in 1900 on the Chesapeake Bay. Much like a mysterious lover, she has unexpectedly appeared in my life many times. The first chance meeting was on Lake Erie in Buffalo, New York. She looked a little worn and tired, but was an eye-catching participant in a Tall

another boat to Bermuda first, and then flying to catch up with the Captain and our music manager, Steve Johnson.

While on the ship, we hatched the plans for our fan cruise aboard the Victory Chimes for the very next season! Of course we were delayed, and eventually held the first Fans Cruise in 2021. It was during that cruise that Amy and I began writing the song ‘Timber She’s Hauled’. We completed the basic idea of the song that summer. Next, came the question

continued on page 18

The Tragic Life Of Dave “Stringbean” Akerman

From time to time, the folks at the University of Illinois Press send a new book to our editorial office for preview. Recently, they sent a biography of Dave Akeman, AKA Stringbean . The book is authored by Taylor Hagood who is a professor of English at Florida Atlantic University. The book chronicles the life and death of a country music legend by weaving the story of Mr. Akeman’s life with an account of the investigation and courtroom drama that followed the brutal murder and robbery of him and his wife, Estelle.

Dave Akeman, in his alter ego as Stringbean , was a headliner on the Grand Ole Opry for 20 years but he achieved his greatest fame as a cast member on the long running TV show, Hee Haw As a young adult when visiting my mother and dad, they would have the Hee Haw TV program playing loud and center in their home. This

was my real introduction to Dave Stringbean Akeman as he played a very visual part on the show.

Akeman was a skilled banjo player of old-time music and he combined the playing with a comic routine that endeared him to the country music fans of his day. His was a simple routine with a

very innocent presentation but it fit perfectly with the times in which he lived and performed.

David Akeman was born in Jefferson County, KY on June 17, 1915 to James and Alice Akeman. James was the farmer of a hardscrabble land that was neither blessed with the rich, green, grass of central KY nor was located in the coal bearing region with mining opportunities. Nevertheless, through hard work and the positive effects of wartime prosperity, the family did manage to live a simple but comfortable life. (Although, the biography suggests David was more interested in fishing and hanging out with a cousin than he was farming.) Schooling was only important when there was no farm work to do, and while Dave apparently may have learned to read and write and figure a bit, education was not high on his priority list.

By Edward Tutwiler

The early musical presence in Dave Akeman’s life was provided by his father. James Akeman was a respected banjo player in demand to perform at local barn dances. While the two drifted apart as Dave grew into manhood, the banjo did provide a deep connection between the two. The mountains of Kentucky harbored a rich mixture of music: familiar old English and Scot-Irish ballads and new popular songs created during the 19th century. This mixture was combined with many religious songs created during the great revival movement that swept through rural Appalachia. These sounds combined to form the old-time music we refer to today. This music surrounded Dave in his youth as he listened to his father play his banjo and sing the songs of the time.

The banjo playing method of the day was the flailing or claw-hammer style derived

from the African playing technique originally associated with their enslaved forefathers. Although many regional unique variations of play developed, this is the playing method that Dave Akeman would learn and use the remainder of his life.

It is said that Dave traded some chickens for his first banjo (although Dave himself told several variations of the story over the years). He took to the instrument and expanded his playing by adding a two-finger picking method to his claw-hammer style. He studied with other players in the area as well as his father and gradually acquired skill with the instrument.

The family did not have the means to own a radio so Dave would walk to a nearby store and listen to the Grand Ole Opry on the store’s community radio. This is where he first learned of a banjo player by the name of Uncle Dave Macon who was one of the biggest stars of the

Opry family. This person would be an important mentor and influence on Dave Akeman for many years to come. From that point, Dave’s goal became to appear on the Grand Ole Opry alongside of Uncle Dave. Some years later Akeman became a protégé of Uncle Dave Macon. Near the end of Macon’s life, he gave Akeman one of his prized banjos.

Akeman soon gained a local reputation as a good musician. Eventually, he entered a talent contest that was judged by Asa Martin (a professional musician of some notice). He won the contest and demonstrated such skill that Martin invited him to join his band. It was while touring with Martin’s band that Dave Akeman acquired the stage name that would become his trademark for the rest of his life. During an early appearance, Martin forgot Akeman’s name and introduced him as String Bean because of Dave’s tall, thin build. Akeman was originally only a musician; however, when another performer

failed to show one night, Dave was pressed into service both as a singer and comic as well as the banjo player for the band. From that point forward, Dave Akeman performed as both a musician and as a country comic.

Dave was also a semipro baseball player and this aspect of his life put him in contact with Bill Monroe who would field a baseball team to play local talent wherever he was appearing to play music. One thing led to another and Dave String Bean Akeman became a member of Monroe’s Blue Grass Boys band. Akeman played baseball and played banjo for Monroe’s band and actually recorded with them. He also teamed with Willie Egbert Westbrook as String Beans and Cousin Wilbur, a comedy duet who appeared on the same bill as Monroe’s band.

From 1943 to 1945 Akeman was part of the Monroe band that was not quite yet a bluegrass band—still a country band with old-time styling. This changed when

Monroe hired Lester Flatt as a rhythm guitarist. Lester caused the band’s tempo to quicken beyond the flailing, two-finger method that was Dave’s style. Ultimately, Dave chose to strike out on his own, and Monroe replaced him with Earl Scruggs as banjo player. At that point, old-time music separated from the new bluegrass music driven by Scrugg’s rapid five-finger banjo runs.

In 1945, Dave formed a popular comedy duet with Willie Egbert Westbrook. Almost immediately, the comedy duet was invited to perform on the Grand Ole Opry . Later, Dave began working with another oldtime banjo player and comedian known as Grandpa Jones, and they worked together for years on the Opry. They also formed a life long friendship and became neighbors. During the Opry time, Dave did finally get to become a protégé of his hero, Uncle Dave Macon.

continued on page 6

Akeman, now known only as Stringbean , was one of the Opry’s major stars in the 1950s and 60s. He adopted a stage costume that accentuated his height—a shirt with an exceptionally long waist and tail, tucked into a pair of short blue jeans belted around his knees. This costume along with occasional bib overalls was the only stage attire that Stringbean wore from then until his death.

During the early 1960’s, Stringbean became a recording artist with the Starday label and produced well received recordings. He stayed true to his roots and never varied from his old-time songs and style of playing his banjo by flailing or picking with a two-finger style. He never evolved to the fivefinger or bluegrass style picking. Some sources list Akeman along with Uncle Dave Macon, Grandpa Jones, and Ralph Stanley as the greatest of the old-time style banjo pickers.

In 1969, Stringbean became a cast member of a new television show entitled Hee Haw . He gradually became an integral part of that show as the oneline spouting, corn field scarecrow and as the reader of his letter from home. He remained a cast member of the show as well as continuing with regular Opry appearances until his death.

During his time as a professional entertainer, Stringbean never strayed from his original act format. No matter the venue, he kept his audience with his traditional playing and his mixture of comedy and song. As a recording artist, he made country-chart hits that included folk songs, tall stories, and country jokes; and between 1962 and 1971, he recorded seven albums.

Dave Akeman was a simple uneducated soul who trusted his fellow man to a fault. He never made a fortune in the entertainment business but

managed to amass a comfortable nest-egg through frugal living. The great depression of the 1930s caused him to not trust banks so he took to carrying large amounts of cash with him at all times as well as having the reputation of stashing money on his property. On Saturday night, November 10, 1973, Akeman and Estelle returned home after a Grand Ole Opry appearance. Both were shot dead shortly after

their arrival in a robbery attempt gone bad. The ensuing investigation and court trial drama consumed the country music world’s attention for a year thus destroying their innocence forever. Country stars from then on hid behind gated driveways and armed security guards.

I have only scratched the surface of the life and times of this very unique musical entertainer known as Stringbean , AKA David Akeman. I encourage you to pick up a copy of Taylor Hagood’s well written and documented biography to gain the complete story; especially the circus that the investigation and trial degraded into. The book is available from typical book sellers such as Amazon and many others.

For more information; see https://alancackett.com/ stringbean-biography

Stay Aware

I love a good story! To be able to write a good story, I find I have to stay in a state of awareness so I can recognize a good story; and to recognize a good story, well, sometimes you have to go in search of it. My favorite thing to do is collect new folks around me all the time.

I just got back from teaching a songwriting workshop in Florida and when in the sunshine state I always feel compelled to find the local watering hole to have a cold adult beverage by the shoreline, maybe some raw oysters thrown in for good measure.

So that’s where me and my farm darling were, a place called the The Filling Station, created out of an abandoned gas station and garage. The big rolling doors had been

removed and not replaced, it was all open air. The beams were exposed, the original oil and maybe antifreeze was permanently residing in the concrete slab floor and the bar was created out of scrap metal. When we got there, the place was empty with the exception of an older woman tending bar. Her hair was a bleached platinum blond reaching her shoulders in straight, fried strings. She had a neckless made of some kind of beads around her neck, a bright pink tank top exposing her weathered arms where a few tattoos were fading on skin which had seen many days under the Florida sun. She was enjoying a small glass of something on tap with a cigarette hanging between her two fingers, resting her elbow on the bartop. I loved her at first sight. There was a woman with a story.

She threw her hand up in greeting and asked what we would like. I couldn’t tell her that what I would like was about an hour talking to her about how she got to this place today with my tape player rolling. I just said I’d like a cold Corona instead…well, make that two because my sweetheart was just as anxious as I was to get to the next step in my plan to figure her out.

This perfect woman never put her cigarette down, just lowered her right arm and put it slightly behind her back as she dug our beers out of the chest. Then one by one, she popped the cap off one handed and set them on the bar. This was going to be fun!

I told her we had just gotten to this lovely town the day before and we were songwriters, which never fails to get a good bartenders attention. She leaned over and asked if I’d written anything she might have heard before

and there we were, off to the races, talking ninety miles an hour. That bartending beauty never heard the tables turn in our conversation, she just started answering a million questions thrown expertly from a trained people collector.

Born and raised in that seaside town, she told us she could name everybody who lived there year round. She knew them by their drinks and loved what she did. She had a love once but no babies, they weren’t in her plans. Walking on the beach was her morning ritual and had been her whole life and she always rode her bike to get there from an old house her family had always owned just down the road from where I was soaking up her story. The owner of the bar was her friend and he let her have run of the place. She laughingly said he wouldn’t

continued on page 18

Donna is the IBMA Songwriter of the year for 2016, And 2017 Song of the Year winner. She was also the 2018 SPBGMA Songwriter of the year. Her latest CD, Livin’ Large, on Blueboy Records, was released in February 2022.

DonnaUlisse.com

We here at Americana Rhythm aren’t shy about our affection for Merlefest. The festival that was created 35 years ago (1988), to celebrate the life of Doc Watson’s son, Merle, after his life was tragically cut short in a farm tractor accident – It’s the festival that inspired us to create this magazine almost 20 years ago. It was the beginning of my baptism into the string music family – and I just couldn’t believe how much I had been missing. Then I realized most of my immediate friends hadn’t heard about this celebration either. Hmm … How could I tell as many people as possible about my new favorite genre’ of music?

Here we are 98 issues later, getting excited about the 35th edition of Merlefest, and what would be the 100th birthday of Doc Watson –father of Merle, and a man who championed a style of music he simply called, “tradition plus”; and we have come to commonly know as, Americana.

How Does It Work? It Work?

It’s a genre’ that pulls together a lot of styles, from Appalachian old time, to Bluegrass, to Folk, to Singer-

Turns 35 ; Merlefest Turns 35 ; Merlefest Turns 35 ; Merlefest Turns 35 ; Merlefest Turns 35

Songwriter, to Mountain Soul, to alternative Country, and all kinds of variations in between. As the popularity of this umbrella grows, so does the number of musicians and bands creating their own original interpretation of it. And while there are many, many amazing festivals, large and small, on the East Coast, at least, (Wilkesboro, NC) there’s none in size, scope, and variety like Merlefest.

In fact, managing 12 stages and booking enough acts to entertain 70,000+ attendees each year is quite the undertaking. I got the chance to speak with Lindsay Craven, Artist Relations Manager for Merlefest, about the scope of this task.

Lindsay started as an intern with Merlefest in 2007 while attending college at Appalachian State University. “I worked with them my junior and senior years,” she said. “And ever since then, I’ve been back as a volunteer or a part time worker; and now a full time worker,” she laughed.

Lindsay was a double major in college; in journalism and advertising, when she ran across a marketing and advertising internship being offered by Merlefest. “I thought, ‘well, I’m into music, I worked for this college newspaper on the entertainment section and lifestyle stuff. – it seemed like it would be a good balance of those things, and good experience.”

Lindsay continued, “Somehow though, my first year I ended up on the artists relations team which was working directly with the artists during the festival. That was a pretty cool experience, and then they invited me back on the artist’s relations team the following year, and I’ve been here ever since.”

Picking Picking Picking Picking The Talent The Talent Talent

Lindsay’s primary role is looking at the talent options, selecting the bands that will play every year, making the schedule for all 12 stages, select the bands, handling all the contracting and the preparation for them to get there, and then taking care of them while they’re on location.

Other moving parts of her job include the outreach program in the schools. “Both the going out to the schools, and sending artists to perform there,” she said. “And then we also have a school day where we invite students to visit the festival directly.”

While it’s a lot of tasks, Lindsay said, “Thankfully, since I had been with the festival so long, I had a pretty good feel of how it all worked. And I’ve worked with three previous artist relations managers over the course of my time with the festival. So I learned a lot from all of them. Steve Johnson, who was here before me, shared a lot of his time, and really explained what he did. He did a great job in handing off the role,” she commented.

Honoring Doc Honoring Honoring Doc Honoring

The Kruger brothers will be hosting Doc’s 100th Birthday Jam on the Watson stage on Saturday of the festival this April. “And they’ll have several guests on that,” Lindsay said. “We have several Doc Jams across the festival that are done every year, and will continue this year and I’m sure we’ll have some little extra things added to it.”

Some of the big name artists performing this year include, The Avett Brothers, country mega-star and Highwoman Maren Morris,

By Greg Tutwiler

I asked Lindsay how she knew if a band would be a good fit for the festival. “Some are just a given of course, but if I’m really questioning whether someone’s going to be a good match, I’ll try to go catch them live somewhere before we talk about hiring, so I can get a feel for what the live show looks like. Sometimes the live show and the recorded show is a lot different. And we want to make sure that their values match with our values in terms of being family friendly, and being able to pull off a show that’s going to work for an alcohol free audience.We’ve got lots of unique things about us that we have to factor in. When we’re looking at our artists we need to make sure that they’re still going be able to perform at the level they’re used to, and still meet our quality standards as well,” she said.

Tickets are available in advance, and at the gate for this year’s festival, April 27th – 30th, in Wilkesboro, NC. Visit Merlefest.org for more details.

Check out my podcast with out podcast Check out my podcast with out podcast Lindsay for a more in depth Lindsay for a more in depth Lindsay for a more in depth Lindsay for a more in depth conversation about this year’s conversation this conversation about this year’s conversation this festival. festival.

Nickel Creek, Marcus King, Tanya Tucker, Sam Bush, and The Brothers Comatose, just to name a few.

Guitarist CJ Cain

CJ Cain has worn many hats in his two-decade bluegrass and Americana music career. From festival picker to sideman guitarist, songwriter to bandleader and co-founder of the Wooks, and now Tyler Childers’ right hand man on acoustic and electric guitar—CJ has had a strong work ethic and charismatic creativity that continue to enrich his field of opportunities. What inspired CJ to evolve on his successful journey, and what inspires him today? How have CJ’s dreams shaped his current reality?

CJ is a humble and likable musician. He also didn’t really plan all of this success. “I mean, for most of my career I’ve done what I wanted to do, when I wanted to do it. And sometimes that’s caused me to fall short. I’m not a virtuoso player, but I’ve also enjoyed everything I’ve ever done. For the most part, there are ups and downs, but I’ve never been burnt out on things. So maybe that’s a positive,” he muses. CJ’s easygoing nature and amicable personality, combined with an uncanny talent for unique songwriting and a commanding rhythm guitar style, create an irresistible charm that attracts the attention of high-profile co-writers, bandleaders, peers, and mentors.

Born And Raised

Born and raised in Lexington, Kentucky, CJ wasn’t interested in bluegrass until he was 16 and attended a local festival with his father. “I was blown away right off the bat,” he says, remembering the experience of seeing guitarist Chris Eldridge onstage with the Seldom Scene. “It was cool to see a kid dressed like me, maybe five years older—someone young, but also, he was still learning at that point. He was taking chances.” CJ had been studying the electric guitar with a local blues guitar teacher up until that point, but soon began to take bluegrass lessons

from the local “bluegrass guru,” Ken Holbrook.

CJ honed his bluegrass guitar chops during his decade-long tenure with the Kati Penn Band based in Lexington. “I truthfully wasn’t really good enough for the gig at first, but Kati saw some potential in me and gave me an opportunity. At first, I was just trying to keep my head above water, but eventually she let me go out and seek the material for the band. Eventually we became business partners with NewTown,” CJ remembers.

Writing With Ease

Writing songs came naturally for CJ, though his writing style has evolved over the years. His first recording with Kati Penn included six of his original songs. CJ says that during that time, he would write in a way that he thought others in Nashville were writing. He says, “I was probably thinking, ‘OK, here’s a topic, I’m going to write this song.’” Four of his songs from that record charted in bluegrass radio, and one of them reached #1. This success surprised CJ. He marvels that in his career, he’s had moments that have made him ask, “How did this happen?” even when he had just been telling himself, “I don’t know what I’m doing!”

Once he departed the Kati Penn Band and co-founded the Wooks with songwriter Arthur Hancock, CJ’s songwriting evolved into a more stream-of-consciousness process. He would go with an idea or phrase that came to mind and then figure out later what the song was supposed to mean, as he crafted it. “Now I try to just let songs find me a little more,” he says, using the Wooks’ ‘The Other Side’ as an example. “I was coping with the loss of a really close friend. Then I thought of the phrase ‘Then came the thunder, and they dealt the cards around.’ That doesn’t make sense on

its own, and I really wasn’t thinking about my friend that I’d lost, but it dawned on me—this could be about that, pretty easily. And I was able to finish the song through that. And that was how several of the tunes played out for me on that record. I was trying to write like Robert Hunter on that particular song.”

Playing With The Wooks

The Wooks’ successful touring career culminated with their third acclaimed studio album, Flyin’ High. After the band went on hiatus in 2022, CJ says

learned a lot during this process. “There’s no corners cut, no lazy lines with him, every single word counts,” he relates. “There’s no ‘Oh that’s OK.’ And that’s a good lesson for me, because I have written some lazy songs—you know, the first thing that comes out is what I keep. Although sometimes that first thing is good.”

Selling The Songs

Writing just for the sake of writing is a new skill for CJ, as he’s always written for an upcoming album. “Tyler has a bazillion songs; he doesn’t need me to help him write an album. So I’ve got to learn how to write to just to be writing, instead of writing just to make sure the album’s done in time. That pressure was always something that motivated me to finish the song,” he says.

he was planning to find a traditional job or put his finance degree to use. But his longtime friend and fellow musician, Tyler Childers, called him 17 days before the Telluride Bluegrass Festival and invited him to play guitar for Childers’ set. “That was the most stressful venue that it could possibly be for me because that’s the mecca for a bluegrass guitar player,” he says. “The second show was Willie Nelson’s 4th of July Picnic in a stadium, which was way bigger than Telluride. But after I got through my first gig at Telluride, I was like, OK, I can do this.”

Initially, CJ’s work with Childers was playing mainly acoustic guitar, but within a few rehearsals CJ began playing electric guitar and branching out to mandolin. He says he has been writing songs with Childers, and he’s

As for keeping up his guitar chops while holding down a day job and touring with Tyler Childers, CJ says that he’s tried to rearrange his daily priorities to make room for practicing guitar. “Since joining Tyler, I’ve tried to have more of a practice regimen instead of just playing when I feel like it, like getting some extra minutes on something. I’m trying to learn in a little more of a strategic manner. Also, I have time to do that more now, because I don’t have to worry about who’s booking the hotel rooms or getting the van worked on, or doing the books, or any of that. So much is off of my shoulders, business-wise, playing with Tyler,” he remarks.

Though busy, CJ leads a fulfilling and creative life. He remains inspired by his favorite songwriters like John Prine and Townes Van Zandt. “I’ve been lucky to have good music in my life and be exposed to it. The best thing about listening to music is that if I’m having a bad day, and I put on John Prine, my day usually gets a little better,” he comments. “That’s like magic to me. I don’t know how that works, but that’s the coolest thing about it. So hopefully I occasionally do that for other people.”

A

Texas Americana Legend A Texas Americana Legend A Texas Americana Legend A Texas Americana Legend A Texas Americana Legend

Joe Ely is an American music legend when it comes to the honky-tonk / Tex-Mex flavor of Americana music. Born in Amarillo, TX in 1947, and raised in Lubbock, Joe was exposed to, and fell in love with, Texas Country music at a very early age. In 1971, along with fellow musicians Jimmie Dale Gilmore, and Butch Hancock, they formed the band, the Flatlanders. “Jimmie [Gilmore] was like a well of country music. He knew everything about it. And Butch was from the folk world. I was kinda the rock & roll guy, so we almost had a triad. We hit it off and started playing a lot together. That expperience opened up a whole new world I had never known existed,” Joe shared recently.

30 Plus and Counting

Joe released his first solo album in 1977 on MCA, and has issued a steady stream of albums, (over 30 and counting, most on

the MCA label), along with a live album, roughly every 10 years.

In 1978, his band played in London, where he met punk rock group, The Clash. Impressed with each other’s music, the two bands later toured together, and established a musical friendship that lasted for years.

In the late 1990s, Joe was asked to write songs for the soundtrack of Robert Redford’s movie, The Horse Whisperer . This led to re-forming of his band, The Flatlanders, which produced a new album. They release

By Greg Tutwiler

another in 2002 and a third in 2004. In October 2022, Joe was inducted to the Austin City Limits Hall of Fame.

I caught up with Joe recently, right as MCA was re-releasing his first three solo albums on vinyl. I asked him to reminisce about the early days of his career and how it all started.

Jerry Did It

“When I was seven or eight years old, I saw Jerry Lee Lewis playing on a flatbed trailer in Amarillo, Texas,” he recalled. “I was hooked from that moment. The wind was blowing about 40 miles an hour and the microphone kept getting blown over. Jerry just kept beating the hell out of that piano. And I thought, ‘you know, that’s what I want to do.’ So he kind of set me on a course, and I’ve been playing and putting songs together ever since then.”

That’s been 60 years ago. Did you have any idea where life would take you, I asked?

PHOTO BY BARBARAFG continued

ARTICLES BY DAN WALSH

Lance Blackwell

Lance Blackwell is a lifelong Mississippian (hailing from rural Montrose and currently residing in Hattiesburg), and traces his musical roots back to gospel. “I grew up with singers all around me,” he says. “...My dad’s parents toured the gospel circuit here in the Southeast…I grew up in church singing with them. I was in the choir from a young age. That just translated into what I do now.”

Despite his deep musical background and ability as a songwriter, Lance had one major obstacle to overcome in order to find success as a performer. “I had a horrible stage fright issue, as far as singing my stuff out in public. It took me quite a few years to get over it.”

By his late twenties, he started playing “out and about,” prompted in part by personal struggles that he needed to process by sharing songs.

“It was just therapy,” he says.

He released his debut, Sins I Have Sown, as Ralph Nix and the Catfish Gospel in 2015. The album turned out to be a summation at the end of the band’s seven or eight-year career. (Lance adopted “Ralph Nix” as a stage name in honor of his great grandfather, whom he credits with setting his moral compass to true north as a young boy.) Today, Lance has a newly released album with a new group of musical collaborators. Good Ingredients , by Ralph Nix and the Guilt Birds, dropped in January 2023.

The new release features songs Lance had written previously along with a few penned specifically for the album. After a sojourn in Seattle for work, a return to Mississippi and reconnection with lifelong musical friends, the record was born when “We came up with the idea to put an album together and went and locked ourselves in the studio for a week or two,” Lance says.

For the latest endeavor, they went to the Studio in the Country, in Bogalusa, Louisiana, notable since the early 1970s as the site of some iconic recordings by iconic artists such as the Neville Brothers, Stevie Wonder and Kansas.

find out more, visit www.ralphnix.com

Shayne Cook

Shayne Cook, hailing originally from Brisbane and currently based in Melbourne, Australia, is a singersongwriter whose musical influences encompass Nick Cave, Ainslie Wills, Bon Iver, City and Colour, Thom York, Emma Louise and more.

Shayne refers to himself as a “late-bloomer” in the realm of music, having gotten started in earnest as a teenager. “Although, my mother told me that the age of three I was spouting off that I wanted to be a ‘songer’—what I called a singer, I suppose—but it wasn’t until 15 that I picked up a guitar.” Shayne continues, “But I was one of those kids that sort of came home from school and played for six to eight hours…”

It would be another 10 or so years before Shayne would try singing, and another five until he caught the songwriting bug. He calls it a “slow, blossoming process” where he first discovered guitar, then, through playing with others, was introduced to singing, then from there naturally moving into writing

“I don’t usually sit down and decide I’m going to write a song about this—a particular subject…” says Shane about his process. “It kind of comes out of the ether and then sometimes I attach a meaning to it…sometimes the words or the take of the song kind of just leads towards a meaning…” He adds, “I’m a big believer that everyone sort of makes up their own meaning from art anyway.”

With his 2020 debut record, Epiphonetics, Cook came out swinging with an impressive collection of nine songs that revealed a raw and open songwriter with a direct approach, featuring vocals that were fresh yet familiar, delivered with heart and honesty. “Until that point, I’d just been chipping away at my own music,” Shayne recalls. The time had finally come to reveal his own songwriting voice, after years of lending his talents to others’ projects.

His follow-up to the album is a track co-written with Richard Grewer, the Top 25 UK iTunes chart single, “Miles Away,” which was released in February 2023. Look for more of Shayne’s collaborations to the near future.

To find out more, visit www.shaynecook.com

Ten Penny Gypsy

When Arkansas singer/songwriters Justin Patterson and Laura Lynn Danley formed the folk/Americana duo,Ten Penny Gypsy, in 2016, both were already established solo artists who had worked together since 2009 but not technically as a duet. The decision to officially unite set them on a new and exciting trajectory. They have since released two critically acclaimed fulllength albums, won five Best Video awards at independent film festivals, and been nominated for seven Arkansas Country Music Awards.

“We met at a songwriter festival in Hot Springs, Arkansas,” says Justin. “We both had our own separate solo things going on and didn’t know each other. All sorts of things happened at this festival and we ended up basically behind the same microphone singing harmony for another friend together, and it just kind of clicked from there. We started writing and performing together not long after that.”

When asked about their solo vs duet work, they speak of a melding of influences that they both see in a “whole is greater than the parts” fashion. Laura says, of Justin, “This isn’t my quote but they say if Gordon Lightfoot and James Taylor had a love child that would be Justin Patterson. And then you throw in my Karen Carpenter and Joni Mitchell, as well as maybe my gospel beginnings, and…it organically became this Americana sound.”

The pair’s second album, Fugitive Heart (2020), which also features the talents of award-winning guitarist Buddy Case, is an eclectic, upbeat combination of Americana and country/blues sounds. Dropping in the midst of the pandemic, the album’s themes of uncertainty and separation resonated deeply with listeners. It ended up generating a #1 song on the iTunes Country Sales chart in South Africa (“Your True You”), and awardwinning, short form music videos for the singles

Ten Penny Gypsy’s most recent release, the single “River N’ Me,” is an “outtake” from the last album, cowritten with Buddy Case. Although it didn’t quite fit sound-wise with the record, after performing it live, the song has become a fan favorite.

To find out more, visit www.tenpennygypsy.com

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

“I guess if I didn’t know, I would have found out the hard way,” he laughed. “I just had a love of music, and at that time I didn’t realize the ups and downs of the music business. I just wanted to play. All through school I played every chance I got. I put a little band together when I was about 15. We played at all the late night, after hours, joints in West Texas. And I’ve been whittling away at it ever since.”

Joe says he’s tried to keep life and music interesting throughout his career. “It’s been really fun and interesting, I’d say, because of all the people I’ve met, and projects that I’ve worked on …” “ … Meeting people from other worlds, other musicians and songwriters, that is what has been very interesting to me, because, you see, you know people’s situations, and how they match their lifestyle and habits, spills over into influence in their songs, and how songs are woven into the fabric of just living. For me, just meeting people and traveling down the road, and how music guides people’s lives in a lot of ways. The stories that I’ve gathered over the years has been a real interesting part of the traveling; and I’ve been traveling most of my life.”

When The Writing Came

I asked Joe about songwriting; did it become part of his life from the beginning? “No, it didn’t come right away,” he said. “I guess I was about 17. Actually, getting thrown in jail might have had something to do with it,” he quipped. “That was a big influence on my life, because, for one thing, it showed me not to go there again.”

“It’s been very interesting to see where it all came from,” he said. “Just when you called, I was working on a set of about 35 mostly complete songs that have never been released. I’ve been going through all my old archives and finding stuff that I completely forgot about. Basically, complete songs that I didn’t remember doing.”

Joe’s had a studio handy since he was in his early 20s. “Just a real

simple one, in my house, he recalled. “But it was a good way to put songs down in a kind of a sketch form, and then later come back to them. And in this case, the songs that I found the other day were recorded well over 30 years ago.”

Joe’s latest recording is called, Flatland Lullaby . They are a set of songs I recorded for my daughter when she was about five years old,” Joe said. “I would always sing her songs when she was going to sleep, and in other situations. I feel really lucky to have had a tape machine all this time,” he said.

“I first started putting things down when my Daddy worked for a moving van company. Someone gave him a record carving machine (something that actually cut vinyl). I started working on things then. So I’m glad that I’ve had access to these different ways of putting stuff down on tape and being unable to catalog my music for all these years.”

Writing Books Too

Joe has even authored a few books in his career. “Yeah, I have two books,” he said; “A novel and a book of poems that the University of Texas press has released. What inspired the novel? “I’ve kept a journal all my life and just jotted down little pieces and things that happened; not thinking it would ever be published or printed or anything, but I’m really glad that it did. Because there’s a whole heap of stuff that I didn’t remember until I started putting down the pieces for the editors. I think you should write a little bit every day just to keep your chops.”

Fans of Joe Ely will want to be on the look out for the re-release of his first three solo LPs 40 years after their first release, remastered from the original tapes, and available across all digital platforms, as well as limited vinyl reissue.

Joe Ely, Honky Tonk Masquerade, and Down On the Drag , are all available now.

ARTICLES BY DAN WALSH

Eric HagenMary Beth Carty

Although he only picked up the guitar during college, Eric Hagen has had music pulsing through his veins since earliest childhood: “I like to say my first words were ‘ma,’ ‘ba,’ and ‘Hey Jude,’ says the artist, citing the influence of his father’s record collection.

It took a bad case of covid to propel Eric into fullon songwriting. “I got covid in 2020 and got really sick. I was waking up in the middle of the night with thoughts of lyrics and song ideas, and I’d try to wake up and type them in my phone,” he remembers. “A friend of mine had covid around the same time, and we kind of got together at the beginning of 2021, and I recorded an EP, and then we decided we should put a band together and travel around.” A tour throughout the midwest and over to Nashville ensued.

Despite the long hours of preparation, the schlepping of gear, the cheap accommodations and so much more that goes into indie touring (and is rarely revealed in social media), Eric says the performance is what keeps musicians like himself committed. “There’s something about that hour or two hours, whatever you’re playing,” he says. “...you don’t think about anything else…There’s something about that experience that makes people keep doing it.”

Eric’s Americana style is firmly rooted in rock, country and blues, which he feels best suits his voice. “I’ve always tried to sing pretty, but I just don’t,” he laughs. “I’ve tried different styles throughout the years and this one just seems to be the most comfortable.”

For his upcoming release, Revival (due out in April 2023), he made a conscious effort to move from more personal songs to telling stories about others. “When I was on the road in 2021 I started jotting down places and people I met, and things I experienced and saw and I tried to write about things other than myself…But when you listen back to it all, your think, ‘that was kinda about me too…”

To find out more, visit www.erichagenmusic.com

Lovers of Celtic music know that some of the best expressions of the style come indirectly across the pond, via the musically vibrant filter of Atlantic coastal Canada, specifically the province of Nova Scotia.

Accordionist, guitarist, and player of multiple pocketsized instruments, Mary Beth Carty possesses a magical voice that earned her a nomination for Traditional Singer of the Year at the Canadian Folk Music Awards in 2009.

A natural singer and musician, of her musical beginnings, Mary Beth says, “My mother loves to sing, so I think even while I was in the womb I was really bathed in music, because my mother is literally always singing.” As a child, Mary Beth enjoyed singing for whatever audience arose: “I kind of liked to ham it up, and sing when we had visitors over.”

As a teen she taught herself guitar, mandolin and bass. At around age 19, she picked up the accordion, which is her now main instrument, when she’d not playing guitar.

Her second solo album, Crossing the Causeway, features traditional songs and instrumental tunes, along with three original songs. The combination reflects the diverse yet unified roots of her region. The album could be categorized as Canadian Celtic, folk, and world music. It takes listeners on a multicultural journey seeking to connect the cultural traditions of eastern Nova Scotia that inspired it, and features songs in English, Gaelic and French, along with tributes to Mi’kmaq culture and Black Loyalist traditions.

Carty’s first solo album, Les biens-nommés, was nominated at the 2018 East Coast Music Awards in the Roots and Traditional category, and led to invitations to perform across Canada, on cruise ships, and around the world (Rwanda, Austria, Italy, and more). Her previous duet band, Bette & Wallet, released two albums, toured France on five occasions, and played the Canadian folk festival circuit.

To find out more, visit www.marybethcarty.com

Province Of Thieves

Based in Stallings, North Carolina, Province of Thieves is an all-acoustic modern folk outfit that has been making music since 2012. They have made an impact with their powerful harmonies, reminiscent of the Eagles and Crosby, Stills & Nash. With a dash of humor and cleverly constructed original tunes, the band has gained a wide following and won a number of awards, including the 2018 Carolina Music Award for folk/bluegrass. Underlying their music is a drive to keep expanding their sound by regularly blending old and new elements to keep the songs fresh yet familiar.

Founding member Greg Moore (vocals, mandolin, guitar) explains the complicated origin of the band. He had tapped fellow parishioner Brad Davidson (vocals, guitar, ukulele, harmonica) for a worship band he was leading. Meanwhile Brad’s daughter, Amanda, attended a dance class taught by Greg’s wife at the church. When Amanda was graduating high school and thus the dance class, she wanted her dad to perform a song for her final recital solo. Greg continues the story: “Brad said, ‘Well, I’ll do you one better. I’m gonna write a song…’ And he tapped me and said, ‘Hey Greg, will you join me on this?’ That summer (2012) we spent a lot of time in my garage, putting sets together, and Province of Thieves was born as a duet,” Greg says.

By their second album, they had expanded to a five-piece band and added a third voice (Steve Allen, vocals, banjo) to create some rich harmonies. Fast forward to today, and the band just released its fourth album, Whitecaps In The Cornfield, in January 2023. It features the band’s songwriting and studio work across the pandemic era. Tracks like “Life Stuck In Pause,” “Walking With The Devil” and “In Between” give voice to the personal frustrations and social disruptions of that time.

“The goal is to play in front of the right audiences,” Greg says, when asked about the band’s plans going forward.

To find out more, visit www.provinceofthieves.com

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

On The Road,

continued from page 2

of how best to produce the song to tell the story correctly. There was also the question; does the song have a strong enough public appeal to warrant the time and money to record it? That is a difficult question to answer, even now. Nevertheless, the song and story would not let us go. We believed in the tune, and were not willing to let it drift away, so we said, ‘YES - let’s do it!’”

We recorded a rough draft and started playing with production. A year later, after much touring, we were able to get back to it. We brought in other instrumentation, such as mandolin, and mandocello (bowed upright). We spent studio time and dollars, musician time and dollars, and none of it spoke to the song. The playing was excellent, but it did not relate to the story. So, back to regrouping and listening. The song needed less, not more. It is a story song, not a look-at-me-playing song. I sent the song to a friend in Nashville, Michael Webb, and asked him to listen to the lyrics to see if they spoke to him on accordion. What he sent back was magic; the voice of the wind in the sails. (Thanks, Michael)

With the completed song - acoustic guitar, bass, two vocals and accordion, we started dreaming

Donna Ulisse,

continued from page 8

know the first thing about how to make it work. He also owned the only hotel and most of the beachfront houses and if I wanted to meet him, well, she could make that happen. In my imagination, I think she could make just about anything happen. She never remarried because her one great love could not be followed up so she was happy to have her memories and she relived them in her morning walks. I asked her if she ever got lonely, and she gave a hoarse laugh as she threw her head back and her hands out to her side (still had a cigarette parked in that right hand) and said, how could she get lonely in a place like this, and I believed her.

I was sad to realize we had finished our beer and needed to get to our next destination where we would be meeting up with our friends. I asked her if she would be there later that evening and she said, “honey, if the lights are on in this place, I’ll be here.” Sadly, we didn’t get back before we left but I like what we talked about and am pretty sure I got about a dozen songs out of her storytelling.

Now you know my dirty little secret! I love to find out someone’s story and to do that, I have to get them talking. Rick, my long suffering husband, loves to watch me go to work on someone. We’ve got it figured out and he just sits back and enjoys the show. Until next time, stay aware, stay very aware.

up promotion and release dates; but we also need a video! What could be better than footage from the ship itself? During our second Fan Cruise on the Victory Chimes, we were able to capture some killer live footage, and we obtained great archived images. We had a video editor we were using in Argentina. (Don’t ask.) Well it started off ok, but then he disappeared, gone, radio silence. (Don’t say it…) After regrouping, we were introduced to another videographer/editor, who nailed it. He got the vibe we were after, and helped tell the story of the ship. And finally, we were ready to release ‘Timber She’s Hauled’ – single, and video - May 12th, 2023, just a few years later.

We can’t wait for you to check it out on YouTube or your favorite streaming platform! Let us know what you think, subscribe and share with abandon.

Scrubbing Out The Music Scrubbing Out The Music Scrubbing Out The Music Scrubbing Out The Music Scrubbing Out The Music

One afternoon while staffing the AR show booth at the IBMA convention last fall, I heard the upbeat sounds of music and percussion coming from an exhibit stage on the next isle. The publisher told me to check it out that there might be a story there. As I wandered closer, I observed a group of folks gathered around a gentleman bubbling with enthusiasm and wearing some sort of percussion device. I saw that all the folks were similarly equipped. Upon a closer look, it was apparent that these percussion instruments were washboards—you know those things on which grandma scrubbed clothes during wash day. No clothes washing for these folks; everybody was scratching out a lively rhythm in time with tunes from a small amplifier setting nearby. After the session ended, I learned the leader of the group was representing a company named Cincinnati Washboards. This Argentinean company custom manufactures washboard instruments for use by percussion musicians worldwide.

This curious encounter started me on another onion peeling adventure about washboards as musical instruments that I thought you might find interesting.

To start us along, we should understand that a washboard is a device used to scrub laundry by hand consisting of a wooden board or frame that holds a metal plate with a corrugated surface. According to Chris Carson on the web site ourpastimes.com/the-history-of-

By Edward Tutwiler

washboards, historians believe that washboards originated in Scandinavia just prior to the turn of the 19th century. This device was widely used in rural and poor areas of the US before washing machines became common. It is worth noting that the only remaining washboard manufacturer in the United States is the Columbus Washboard Co., which has been making washboards since 1895.

Although the washboard was initially designed for washing clothes, it soon was used as a musical percussion instrument by musicians in poor neighborhoods and rural areas in the mid to late 19th century. When used as a percussion instrument, players place sewing thimbles on their fingers and rub and strike the corrugated surface of the board to add a raspy or scraping sound to the rhythm of a music performance. Thus, the washboard can provide normal drum

rhythms or add an additional layer of rhythm to a performance.

Various sources hold that using a washboard as a percussion musical instrument is a derivation of doing the hambone. Hambone is the act of stomping, slapping, and patting one’s arms, legs and chest. This rhythmic art form was created by enslaved Africans in North America. Since these folks were forbidden to use drums, they found ways to make rhythms with tambourines, bones, and body music such as hand clapping and body and thigh slapping. Thus the hambone is a musical technique where players basically play their body. It is easy to imagine the transition to using a washboard to simulate the same rhythms.

The early public use of the washboard as a musical instrument was in Jug bands. Jug bands, which used jugs, spoons, and washboards to provide rhythm, became popular in the 1920s. They were common across the American South, and were typically made up of African American vaudeville and medicine show musicians. They played a mixture of blues, ragtime, and jazz.

continued on page 20

Scrubbing continued from 19

The use of the washboard as a novelty percussion instrument spread and is still used in some string music bands, Dixie-land bands, and other folk music traditions; however, nowhere is it more visible that in the zydeco music of the black Creoles of southern Louisiana. Zydeco is a form of dance music with roots in French, African American, and AfroCaribbean styles and was created by those of African heritage in Louisianan French culture (the Creoles).

With the integrating of the washboard as a percussion mainstay in certain musical traditions, innovation most certainly was bound to occur; thus enter the frottoir (zydeco rub-board). This device dispenses with the frame and consists simply of the metal ribbing hung around the player’s neck on a strap. It is played primarily with spoon handles or bottle openers in a combination of strumming, scratching, tapping and rolling. There are now available commercially manufactured frottoirs that are highly polished and

contoured to fit the player’s body. It is worth noting that the frottoir is a mid-20th century invention designed specifically for zydeco music and is one of the few musical instruments invented entirely in the United States.

It is also worth noting that people keep alluding to the washboard as a musical instrument that was a part of old-time and early country music. Maybe it was on a very local, rural scene; however, I cannot find any references that document its widespread use in that genre. Nor can I find any mention of anyone playing a washboard at any of the early established country music venues.

Having made that point, I do currently see musicians playing percussion washboard (and not always as a novelty device or point of comedy) with newer and non-traditional string music groups. Further, it is not uncommon to witness street musicians and folk musicians supplying percussion accompaniment via washboard in their performances. Plus, there are serious musicians now incorporating washboard percussion in their performances.

Remember that Pied Piper leading that rollicking jam session that I mentioned in the beginning of this essay? In 2016, Cincinnati Washboards launched the first ever washboard made especially for music. The company quickly ran out of stock in the first week, and they’ve been pushing out musical washboards ever since. You might want to check them out on the WEB at CincinnatiWashboards.com.

Explaining her approach to music as a “song interpreter,” Mara Levine says, “What I do is look for really wonderful songs and then put my own spin on them.” Along with the many classics from the American folk songbook, which she grew up listening to constantly, Mara has connected with many contemporary songwriters at conferences and workshops. “It really has to grab me, to add it to my repertoire.”

Once she has a song selected, there’s quite a bit more to be done to bring it to life. Mara typically starts with her vocals. “I work backwards. A lot of people will put all the instruments down first, then do the vocals. But I do the lead vocal first. Then I decide what I want to do with the harmony arrangements.”

Mara’s third collection of songs, Facets of Folk (2019) charted at #1 on the Folk Alliance International Folk Chart and had nine songs hit the top 20. It ended up as the #3 album for that year.

Since speaking with Americana Rhythm previously, Mara Levine has been working on adding a compelling visual element to her music. “What I’ve been doing since the pandemic, since I haven’t been able to be out of the house much, or go to the studio [is] working with Valerie Smith from Bell Buckle Records, my record label, and we are releasing singles from my previous recordings…making music videos to go along with them.” Mara has found herself experiencing an extended personal lockdown as she cares for her elderly parents with pre-existing health conditions. Necessity is the mother of invention, as they say. Mara and Valerie figured out how to be creative and productive, despite Mara’s extra limitations. “We hit on the idea of meeting and filming at a farm close to where she travels in Maryland for her business,” she explains. The pick-your-own sunflower farm, called The Sunflower Garden, provided a beautiful setting for the video of ,You Reap What You Sow.

Despite the continuing family challenges that limit her ability to travel and share her music in a live setting, Mara has found other ways to stay connected. “I’ve participated in many online song circles, open mics and online camps…and the silver lining has been the friendships and opportunities that I never would have had made under normal circumstances.”

Mara Levine

ARTICLES BY DAN WALSH

Amelia HoganBobcat

Amelia Hogan has been called an “impeccably authentic singer of Celtic music,” and her heart comes through via the highly lyrical solo a cappella style of Irish music known as SeanNós, or “old style.” She also plays bodhran (Irish drum) and a small 22-string Welsh lap harp, and has toured internationally.

Despite growing up on the West Coast, Amelia was immersed in traditional Celtic music from an early age. She was also influenced by her mother, a professional songwriter. “I grew up as a babe in arms, going to folk music club events…” she remembers. She was “just really listening directly to previous generations,” as she matured.

Today, Amelia’s own songwriting and performing reflects the authenticity of that folk tradition. Whether traditional or modern, Amelia says, “The songs that I’m most drawn to…there’s got to be a level of emotional truth to the story. There’s got to be a sort of human experience that rings honest.”

Her latest album is called Taking Flight. The 16track album features one original (the title track)— a joyous a cappella number in four-part harmony— along with a number of traditional, public domain songs, and interpretations of songs by contemporary songwriters.

The songs express heartache, hope, and ultimately a joy-filled conclusion. The unifying theme of birds runs through the project. Often seen as a symbol of loss and sorrow, birds also represent hope and healing and the ability to find beauty in the midst of hardship.

“For many of us,” shares Amelia, “the few years since the spring of 2020 have been full of grief and loss, between death, illness, cultural changes, and unprecedented political upheaval. It feels as if nothing has been left untouched. As I worked through these feelings in my own life, I kept returning to singing and sharing songs related to birds as solace, comfort, and inspiration.

Pete Price

After getting a start in music at age four with a mandolin from his grandparents, Long Island singersongwriter Bobcat credits a very specific encounter with setting his musical trajectory in his teens. He listened to, and digested the 1994 Beatles compilation, Live at the BBC, which featured the young band on mostly covers of the rockabilly, rock & roll and R&B songs they had cut their teeth on. Bobcat says, “...after I learned all of that album (rudimentary—I was no John or George or Paul on the guitar)...it was my first huge rockabilly kick, at the age of about 16…”

Although still drawn toward roots music and the swing revival of 90s, Bobcat found himself immersed in the alternative music world with his first band. The desire to simply play music with others was key: “It was fun playing with those cats,” he remembers.

Closer to his original musical direction, however, Bobcat began his songwriting journey with The Arkhams, around 1997. Within this psychobilly group he found collaborators that helped him develop his writing talents.

As of December 2022, he had three albums worth of collected material, two of which had been released. They include older stuff (“Written by a 15 year old with a broken heart.”), road-tested Arkhams tunes, and more recent, personal expressions (“Everyone had a deeply personal experience of the pandemic.”).

Right now, Bobcat is focused on honing his oneman-band concept. On stage, he sits ensconced with one of his electric guitars among a guitar amp, powered monitor, mixer, pedal board at arm’s reach, with a kick and snare drum at his feet. (Yes, we said “snare drum.”) The performer brings a unique kind of show, propelling his often raucous music with his entire body.

But Bobcat is looking once again toward a future involving collaboration. While Long Island is currently lacking in like-minded musicians, he sees a path forward. “I want to build the momentum… I want to make a one-man-band sound like a full band. And eventually expand…”

To find out more, visit www.bobcatmusic.li

Pete Price had spent the last 30 years as lead guitarist for The Fries Band, a Dayton, Ohio staple, known for their lush harmonies and acoustic rock vibe. The group has enjoyed local success in Dayton’s thriving music scene, and opened for quite a few national acts when they came to town. The band reflects many of Pete’s personal musical influences, like Neil Young, Simon and Garfunkel, and James Taylor.

“I’ve always written songs,” Pete says, “but it really started hot and heavy during covid.” With live gigs suspended, the lockdown provided Pete with plenty of time to be still and to examine his thoughts and feelings. New songs and new ideas naturally started to flow, and in early 2020, with the encouragement of fellow musician and neighbor Nick Kizirnis, Pete began work on what would become his debut solo album, The Department of the Interior, released in January 2022.

“I’ve always been very interested in how your mind works…I’ve always tried to figure out what makes me tick, what makes other people tick—how people are motivated.” This theme runs through the record, which also explores spirituality, living, loving, loss, and even has a 21st century political protest song named “Common Ground” thrown in for good measure. The style touches upon Americana, rock, soft rock, blues and more.

When considering his songwriting process, Pete has a daily routine that allows for songs to emerge organically. “I try to play every day,” he explains. “Usually I try to play early in the morning before my mind is occupied with other things…Sometimes I’ve got a show I’m preparing for and I’ve got to rehearse different parts…but ordinarily I have at least some amount of time where I can just noodle around. A lot of my songs start that way.”

“Thank goodness for cell phones,” Pete adds, “because in the past, I’d come up with an idea and think that I’d remember it, and it would be gone within fifteen minutes.”

Check out The Department of the Interior on Bandcamp at peteprice1.bandcamp.com.

To find out more, visit www.petepricemusic.com

Listen to the expanded interviews by searching Americana Music Profiles on all of your favorite Podcast platforms!

Music From Your Neighbors

Are you? Thank you for checking out all these great new CDs! Make sure you go see live music whenever you can! And we’ll keep telling you all about the good stuff right here! Oh, and please tell them we sent you! Buy their CD. Support your favorite musician so they can keep making their music!

Got one you want us to consider? send it to: Uncle Woody

The Spin Doctor, PO Box 45 Bridgewater, VA 22812

Brit Taylor

Kentucky Blue www.brittaylormusic.com

Kentucky Blue is Brit Taylor’s sophomore project, debuting at #2 on the Billboard Bluegrass charts. The Kentucky native has already landed wins on two different charts, and is headed to her Grand Ole Opry debut on March 22nd. Good stuff.

Starlett & Big John

Living In The South www.starlettandbigjohn.com

Living In The South is Starlett and Big John’s debut with Rebel Records, following their sentimental hit, “Straight 58.” The pair met in 2019. The connection was instant and a new Bluegrass duo was born. Keep your eye on these two.

Music

From Around

The World welcome to the Spring edition of SPINS for 2023. Festival days are upon us and we’re already enjoying some of our favorite acts!

Arkansauce

OK To Wonder www.arkansaucemusic.com

It’s a unique take on Bluegrass music from these four guys from the Ozarks. Their 5th album, continues their improvisational string leads, complex melodies, rich harmonies that gives them their distinctive Arkansauce flavor and sound.

Shelton & Williams

So Much Time, So Much Love www.sheltonandwilliams.com

Johnny and Jeanette Williams, and Jay Shelton make up this trio, featuring Americana, classic country, gospel, and trad and progressive bluegrass. Danville, VA (their hometown), recently honored Johnny and Jeanette with a Lifetime Achievement Award.

The Churchmen Shadow Of The Cross www.thechurchmen.com

Born out of a men’s fellowship night at church, this quartet sings and records only gospel music, and have done so from the beginning. Shadows Of The Cross, is the latest project from this deeply talented, faith based band. What a blessing to hear them live.

Ashby released his first solo project in 1999, and has been so busy writing and performing since, that it’s taken this long to cut another record. Well worth the wait though, as Ashby’s remarkable talent shines through here.

Skylight Intervention

www.tomglynn.com

Singer/Songwriter, Tom Glynn started writing songs when he was just 10. His work has been featured on ABC, Fox, Showtime, and Lifetime. This Boston Music Award winner’s latest project is a great listen. You’ll want to hear more.

The Foreign Landers Travelers Rest www.theforeignlanders.com

David Benedict (South Carolina) and Tabitha Agnew Benedict (Northern Ireland) grew up worlds apart, but have come together for this debut release, Travelers Rest. Sierra Hull said they were “meant to make music together.” We agree..

Something In The Water www.jakeybarra.com

At 25, Jake Ybarra’s voice sounds more like a guy who’s well into a successful, seasoned career. His post-college career was born out of a musical childhood family, fueled by his Texas roots, and influences. You’ll enjoy his debut, Something In The Water.

Jill Rogers and Crying Time

Many Worlds Theory

www.cryingtimeband.com

A stalwart of California’s Bay Area’s country music sceen, Jill Rogers and Crying Time have been performing together for 10 years. Their latest, Many Worlds Theory, is just another example of their solid musical performance.

Mighty Poplar

Mighty Poplar www.mightypoplar.com

This new, allstar project features Andrew Marlin, Noam Pikelny, Chris Eldridge, Greg Garrison, and Alex Hargreaves, teaming up on this bluegrass infused set that relies on the improv skills of these talented musicians to keep the music fresh.

Brian

Book Of Life www.brianblake.net

Book Of Life is Brian Blake’s debut album on the heals of an award winning songwriting career. The Memphis based artist said this album is intended to “pay homage to my family,” he said. It’s a refreshing collection of carefully penned, personal songs.

www.AmericanaRhythm.com

Andy Leftwich

The American Fiddler www.andyleftwich.com

If you like fiddle music then this would be the album to add to your collection. Andy has recorded for many musicians in his career, but not often as a featured artist; until now. The American Fiddler blends Irish, Bluegrass and old time into a wonderful tapestry of sound.

Larry Sparks

It’s Just Me

www.larrysparks.com

Larry Sparks is one of the few artists today still performing Bluegrass who helped pioneer the industry onto the international scene. When a guy like that releases a new album, we take note. It’s a milestone record for Larry, and a treat for all of us.

Tom Glynn

Blake

Jake Ybarra

Ashby Frank Leaving Is Believing www.tashbyfrank.com